The style of the jacket is most obviously Florentine (Loris Vestrucci was trained by Giuntini, among others, who was one of the last great Florentine tailors).

That style is characterised by:

An extended shoulder (running just beyond the end of my natural shoulder)

A generous lapel, curving slightly inwards (concave)

A straight breast pocket

Light padding and chest canvas

and, A curved front dart that finishes at the hip pocket

This style, which Tommaso and Tommaso at Vestrucci describe as 'Italian character with English modesty', is an effective way of combining comfort and masculinity.

The make is soft and that, combined with the drape, make it very comfortable. But the large lapel and extended shoulder give an impression of strength and size that is rather flattering.

The Italian side is perhaps most seen in that flair of lapel and general curviness, and the English in the closed quarters and general subtlety.

The obvious comparison is with Liverano, which readers will be more familiar with as an example of Florentine style.

In comparison to that, Vestrucci has:

More drape (more than most Italians or French)

More closed front quarters

Less padding, and is generally softer

Overall it feels like a less striking style - softer and rounder - but still with that masculinity in the shoulders and lapel.

I particularly like the image above as an illustration of this. You can clearly follow the line of the slightly convex lapel, into a relatively long and straight line through the waist button, and then the little curve at the bottom.

There is little to say about the style of the trousers, except that Loris likes a rather long fly. This has the advantage of opening up more, making the trousers easier to get on. But makes little noticeable difference to the look.

I've been wearing the suit for the past couple of months, and I have got very used to its softness, drape and general comfort.

It reminds me most of a lighter and softer Anderson & Sheppard. Both have that extended shoulder and drape, and I can happily sit and work in both all day. A&S just has more padding and canvas.

The only area of the Vestrucci I would like more structure is the trouser waistband, which has a very soft, folded over lining. This would be more attractive, and no less comfortable I think, with something thicker.

The make is good without approaching the fineness of anyone further north, in Milan, Paris or London.

Nice buttonholes but not super-fine, and good finishing inside without any of the flair of a Cifonelli or Camps de Luca.

My experience too, was good. Tommaso Capozzoli measured me in London, and apart from one or two small issues, it was a good base for Loris to work from in Florence. I had one fitting there late last year, and then another in January during Pitti.

I feel this consistency and accuracy should be emphasised given recent discussions - Vestrucci is still a small tailor, but has the professionalism of a large one.

The only outstanding issue we have is a small one with the trousers. The rise was initially too high, and although it has been reduced, it still needs to be a little more.

I might also look at the drape in the back of the jacket (don't have a picture of that, sorry) as it is more than the front, and could perhaps be cleaned up and still be comfortable.

I'll look at both with Loris and Tommaso next time I'm in Florence.

Vestrucci don't do trunk shows to London at the moment but are considering it for later in the year. They are already in the US of course, with the base of the Stefano Bemer showroom on 67th street (Stefano Bemer shoemakers owns Sartoria Vestrucci).

I should also mention that Vestrucci offer a ready-to-wear and made-to-order service, which is made to the same cut and style as the bespoke, but of course not the same quality level.

This may prove helpful for anyone that likes the style, as the bespoke is fairly expensive, at €4,200 for a jacket and €5,000 for a suit.

The MTO is €1,800 and €2,400, the RTW €1,500 and €2,000.

I've wanted a charcoal-flannel suit for a while. (Even if it does mean I'm ordering a lot of grey suits at the moment - with the 4-ply Ciardi and mid-grey Panico.)

I had a Polo Ralph Lauren one when I was younger, and loved the style. The flannel is so dark that it feels smart and serious, yet the texture is unexpected in most smart or professional environments.

I'd generally wear it with black shoes (which is why I went for grey corozo buttons, not brown), and it's nice with a white shirt and a tie, as here.

A grey tie is a bit more of a fashion look (grey on grey), but a navy tie is also nice and charcoal flannel is great with deep, rich colours like purple.

I also find that it compliments a blue shirt with a burgundy tie, or a bright acidic colour like lime.

Here, I have that burgundy in the silk handkerchief (from Huntsman), while my Jaeger Le-Coultre watch with tan ostrich strap also adds a little colour.

Subscribe to this post

You can follow the discussion on Sartoria Vestrucci charcoal-flannel suit: Review by entering your email address in the box below. You will then receive an email every time a new comment is added. These will also contain a link to a page where you can stop the alerts, and remove all of your related data from the site.

Interesting. I have a pair of charcoal flanell trousers (Ariston bunch) that I ordered from Saman Amel to have some contrast with a midgrey jacket. I rarely use them so maybe I should order a suit jacket in the same cloth.

I’d be curious to know whether you feel a mid-grey flannel is too casual for a business suit. I’ve recently had one made and have worn it several times to the office/in meetings (it has been something of a saviour in the curiously wintry conditions the UK has been contending with during Feb/March) and it has gone unremarked.

Obviously it depends on your office – I can imagine some very formal offices, eg some law firms, where it would be noticed. But with the vast majority I think it’s fine, and more subtle and interesting than a silly lapel, a bright lining, or that electric blue you now see everywhere

I worked in one of the leading City law firms and I can assure you that you would be very well dressed in this suit (actually a bit overdressed, lawyers do not dress that smart, not even most partners who of course could afford it). Same is true for Investment Banks although there some of the higher echelons are pretty well dressed. The idea that flannel is kind of casual is really outdated.

I second this request. I’m on a brightly lit Mac computer right now, and I still can’t make out any of the details or the cut. The photos alone are excellent, and the flannel looks fantastic in this moody lighting, but I can’t see the details of the cut that I’m reading about in the article.

Simon, I am sorry but I am really struggling with this suit. Not because it isn’t a nice suit because it is; but I don’t think its exceptional in design or manufacture – something that you mention yourself in the article. Its what I would call a “bog standard” cross between an A&S design and Naples – again you mentioned Liverano and again I see nothing wrong with that. However this particular artisan does not travel to the UK, so those of us that reside on this pearl in a silver sea will not, for the immediate future be able to avail ourselves of this particular tailor. So, you have a tailor that doesn’t travel to the UK, who provides a reasonable quality product and produces clothing that does not appear revolutionary but evolutionary for what is a, not inconsiderable price. If this company were based in Liverpool or Leeds I don’t think you would consider them – for all the reasons that you have mentioned many times yet you commission clothing from provincial tailors in Italy regularly. I am confused

John, Vestrucci already travel to New York (and there are more PS readers in the US than the UK). They are also, as mentioned, planning on travelling to London. Perhaps closer reading of the article would have been helpful there.

This is also a long way from being a bog standard suit. It’s a genuinely distinct style, cut superbly, that is stylish, comfortable and in some ways to last of a rich tradition in Florentine tailoring.

If you want revolutionary tailoring, I suggest you try another website.

David makes a very good point, one with which I have long pondered on this otherwise enlightening site; I live in North West UK and within 30 minutes of me exists not only many of the world’s finest textile mills but real, actual artisan tailors who never seem to get mentioned.

For example, I can drive for thirty minutes to one of the numerous mills, select a fabric from their factory outlet, drive another twenty minutes to a third generation shirt maker who, if I take my own fabric can hand make a shirt in his own workshop for ~£80.

In my home town of Liverpool there exists at least three tailors, one of which a recipient of Golden Shears award and the garments ARE actually hand made, on the premises, by crafts people each with the own specialisation and not, as almost always the case in London, farmed out to sub-contractors outside the M25. The price of all this genuine craft? about one third or less of London or Italian prices. The naval tradition persist here too and can be seen in their coating and overcoating craft.

I am sure this state of affairs exists in other parts of the UK and I’m puzzled as to the prominence of London and Italy tailoring over that of provincial UK.

Neil – I too come from Liverpool but have had suits made in Hong Kong, Naples, London and Tokyo without even thinking of looking at any options closer to home. Is there a simple way to get an understanding of who is who and what is what around the North West – a directory or similar?

I’m happy about this response. Personaly I use another tailor from Firenze, used a few from Naples and I’ve come to conclusion that Florentine Tailoring with its distinguished style suits me the most. Calling Florentine Tailoring a bog standard between A&S and Naples is pretty harsh. (Not to mention that it sounds to me like someone has a lack of knowledge about Florentine Tailoring)

Despite the many comments about this issue over the past few weeks, I still haven’t heard anything to counter Simon’s point that regional tailors in the UK don’t offer anything different from their London counterparts apart from lower prices. Given Simon lives in London, where there are already many fine tailors, why would he travel to other parts of the country for something he can get in his hometown?

That said, I can see why a guide to tailors outside London might be useful for those who don’t reside in the capital. Perhaps a directory of regional tailors – in the same vein as the city guides – would appease readers in the provinces…? (With the caveat that they haven’t been vetted by Simon)

I believe it’s a point of contention for those who see the value in bespoke, and would like to make the jump but either cannot yet afford the price-point, or see trouble justifying the price set by some of the more well-known artisans.

I believe sites like this have been instrumental in putting tailoring back in the spotlight, but it has unfortunately spurred some side-effects as well. There is the influx from the insta-crowd and self-proclaimed master tailors that offer sub-standard garments at elevated prices, and possibly the inflation from actual master tailors who have become internet darlings. Some of us would like to know what affordable opportunities exist in our local markets, so that we too can reap the benefits of bespoke but without the mistake of being taken for a ride.

I have a very similar suit made bespoke at Hayward about 5 years ago; I have had more compliments on it, from every age group, than all my other suits put together. This is an immensely sharp and flattering look with a white shirt. You can wear it anywhere.

The photos are great but for the purpose of this website, they could perhaps benefit from a little work in Photoshop as on my PC it’s hard to see much definition.

I think the compliments arise from seeing dark grey flannel cut so well, coupled with the fact that one simply doesn’t see many men in grey flannel suits – there are plenty of separate trousers and jackets, but rarely suits in this fabric (perhaps school put people off!).

The best bit is that most of the compliments come from well dressed millennials!

Hi Simon
A very stylish suit, lovely texture. I would love to try them but they seem very expensive when compared to neapolitan taylors and from your article the make seems more Solito level rather than Caliendo. Is it worth the money?

I’d say it’s certainly more like Caliendo – on a par with any of the Neapolitans, just not with the French.
Hard to say on the price, as you say it is pretty expensive. I think it would have to be judged on style for that extra amount.

I appreciate that both Camps and Cifo indeed made top finished suits for you, but a few in Paris (tailors, clients) question the quality of Cifo finishings. several tailors said they would like to hire staff from Camps but not from Cifo. Do you not get the same feedback sometimes?

Understood. I’m not sure thats entirely true however, there is huge variation between how different tailors make as well as finish. In any given making process there are many ways of doing something, and tailors across the world pursue different methods with subtly different results.

In Florence particularly coat-making is seen as the most sacred part of the tailoring process (in contrast to a pretty simple single-dart cutting block), and in some areas of make they actually go to greater lengths than almost anywhere else.

Take their lapel as an example – they do a sub-1cm pad (some Savile Row houses are now up to 2cm) an inch out from the roll to give it the Florentine spring, then taped with a small fell either side, the outside fell catching a minuscule amount on the underside, before the excess is placed down above with a tiny hand seam catching just the canvas. The inside panel is then fastened, again in a more sophisticated way than elsewhere, prick stitched a fraction apart, before the edges are given an extremely fine fell (much smaller than in UK, and using a single strand of a whole thread) to melt the two panels together. No other tradition puts in this amount of handwork, and this is how they get their lapels so crisp they feel and look almost like paper (see work of Sartoria Corcos). There are instances of this unique level of care all over the jacket.

They tend not to focus on finishing at large in comparison as they see it as entirely secondary to how the maker has made the cloth behave across the jacket when worn, which they (like many english/french tailors I’m sure) see as the essence of coat-making. In some ways their method and its order of priority is a purist’s comment on the art, drawing attention to the areas they see as important, while giving less to others they regard as needless and superficial. This sounds pretentious but its quite true…many consider finishing something different altogether, and closer to embroidery.

In any case, I also disagree that their finishing is even that much worse than elsewhere. Their prick stitching is larger because it does its job better, whilst their lining fells are further apart as they believe that the less unnecessary stitches you have in a suit the better, giving it natural movement. For the same reason they would never dream of top-stitching a lining as the French do, which they would consider bad tailoring.
Plus in some areas it is actually very fine, they use an invisible but very small embroidery stitch (up-and-down full needle) to fasten their welt for example, and another hand seam adjacent to it, as well as an embroidery stitch to hold down the jet excess. The corners across the suit might look soft in comparison to the hyper-structured English/French houses, but this is an aesthetic preference, any sharp point is seen as poor work, and maker’s compete over perfectly cleaning out and rounding edges, which can be just as hard.

I’m sorry to go on and on, but I just I think the focus on finishing as a metric for level of make blasts straight past the subtleties of the art. Florentines really make with a lot of love and thought about the process, so being roped into the cliche of more slapdash Italian making vs finer English/French is I think unfair, and the simplification above of Cifonelli < Caliendo/Vestrucci < Solito (though not intended) is a bit ridiculous, as you may agree, and doesn’t do any of their work real justice.

Very nice, Simon. I can see from the close up that the flannel has enough texture for the jacket and trousers to be worn as separates. (With other shades of flannel – blue, for instance, or tweed jackets.) For someone like yourself who has many pairs of flannels, etc., it perhaps isn’t necessary, but I’ve found my SB flannel suit from Drakes (Easyday, 2017) to be very versatile in that regard, and it can be dressed up or down easily. I think a charcoal suit is a great investment. Thanks for pointing me in that direction some months back, Simon.

Simon, This looks just fantastic. Once you’ve your basic stuff sorted out this is just the kind of beautiful commission – or purchase – that you ”need” to fully savour the joys of dressing well. There will always be situations and events where this will be perfect. Also there are different ways of wearing because it is quite neutral. It is one of those low key looking suits that the likes of Cary Grant always did so beautifully – and you just cannot help admiring how perfect it is. Love it! Now …. where’s that spare 5k?

I like this suit and its place in a wardrobe. How do you view char-brown flannel in comparison, like the one Fox recently added to their classic flannel bunch? I’m in an environment where I’m relative free to decide myself on the level of formality. A straight brown suit might still come across as a bit rustic, and charcoal as too formal. Both charcoal and char-brown flannel trousers could be useful worn on their own, with perhaps a slight edge to charcoal for versatility. But then I also much like your blue and brown combo shared on July 27, 2015, to send another 12 points to brownish trousers.. just musing out loud here and curious for your thoughts, Simon. Danke

If you want to see the Fox char-brown in action, look at the trousers in https://www.instagram.com/p/Bg1UgkAA4Ga/
I think it would also make a nice suit. I have a suit made from Fox char-navy flannel, which is also a great option. It is still suited for business, but neither navy nor charcoal…

Certainly a very nice suit albeit I find the colour quite restricting.
I’ve been tempted by a flannel suit for a while and think I’ll get A&S to make me a navy blue chalk stripe it will be easier to dress up and down.
I don’t wear a lot of suits so they have to be versatile.

I’m genuinely not so sure.
Leonard Cohen (RIP) used to sport one with an open necked denim shirt and it looked magnificent.
The actual colour I had in mind is the same as Drake’s used in their ‘Every Day’ suit albeit in a higher quality fabric and, of course, with that unique A&S cut.
Ferry comissioned one recently and it is knock out.

Hi Simon,
This is a lovely suit despite your caveats.
Presumably, it has become obvious to any PS reader, but worth stressing: finding out the right style that really suits one is actually a challenge.
I do have two questions:
1. For the same level of formality (and color), which fabric would you have picked for such a suit other than flannel?
2. Which kind of fabric do you usually choose for the lining of your suits (jacket and trousers)?
Thanks for your reply.
John

I can only reinforce your comments about Sartoria Vestrucci. My experience with the Mr Vestrucci and the team was extremely positive. The service, attention to detail and the final product (a jacket) were excellent

Sorry to open with a criticism but I second the comments re. image darkness, it is not only an issue of image brightness but more importantly an issue of an underlit subject (5 mins on photoshop or in any image editing app would help fix). The images are probably usable for GQ but, respectfully, I think you have a more discerning readership who seek out detail and are less impressed by the fashion palette of ‘mood’. Also taking pics into a corner is never a good idea – it gives a reference to the vanishing point which then guides the eye past the subject to the background. An addional plea for detail on the trousers (other than side adjusters), particularly on silhouette. This is so for any suit worn in a business environment as once at the office many people remove the jacket for comfort.

Once again the issue of Italy vs. UK regional (North of London) tailoring has arisen. I sense a little frustration by you Simon but please bear in mind that this area has a population of nearly 20 million (nearly 29 million incl. Scotland and Wales). I lived in the Midlands for some years and found that, generally (excluding the City), people dress better in the regions than in London. The argument that the Italians travel or do US trunk shows (which is sometimes used) is a marketing point (many PS readers are US based) but not one that should not stand in the way of exploration of other regions or countries. I understand your points on the English cut being generic to the UK but elements such as quality, craft, the growing wave of new talent, naval vs. land tradition are, from a readers perspective, all worthy of enquiry. So please don’t forget the millions north. Many wish to be well dressed, may not be able to visit Italy but could visit one of the fine tailors in their region. Should you choose to explore this area I’m sure you would be met with enthusiasm and open arms.

Apropos nothing much but a thinking point, I was arranging travel this morning and noticed I can fly from Liverpool to Naples in 2 hours for £44.00 rtn whereas a rail ticket for the same day to London would cost me £212 and take 2.4 hours. If I knew where to go in Naples I would make the trip as London is less accessible to most in the UK. Plus the food is better.

Neil,
I’m not sure where you are looking for your flights! You could get the train from Liverpool to London this time next month for £50 return (2hr 13mins each way). I can’t see any flight that are direct both ways between Liverpool and Naples regardless of the dates I look at. So unless you want a hellish 9 hour journey you’ll have a substantial transfer at one end on top of a flight of over 3 hours. Even that is going to cost at least c.£300. Given that regardless of where you are getting your suit made you’ll need 2 or 3 visits to the tailor unless you run a style website, are often in southern Italy or want to take a lot of holidays there I’m not sure travelling to a Neapolitan tailor is practical for someone in your neck of the woods. Frankly even as a Londoner I’ve winced at the cost and time implications of doing so when I’ve idly considered it.
Sam

No – it is pefectly possible to pay that or less on Easyjet, nor does it require far booking.

It is my misfortune to have to travel to London often, in point of fact I used to do business with a merchant bank in Savile Row and I can also fly to Milan and back for less than the cab fare from Euston to the Row.

I lived in Bologna once learning the lingo, Firenze isn’t far but I found it dreadfully touristy and unpleasant. Never been to Naples.

It is impracatical now to travel to London by rail at anything other than full fare. If you pay first class well, I can fly Man to New York or Hong Kong and back for less…

Anyone who travels to London on Business from this part of the world budgets it at £350-£550 for the day if you do lunch too.

A really beautiful suit (bit moodily shot, as others observed) but what a clean cut and silhouette!

Bit surprised about the questions regarding wearability in an office. I’ve worked in the City for 25 years, there are maybe 1% of offices were that would be ‘informal’ and many more where your ensemble would be at the formal end of the scale. Some posters seem to think we still wear black lounge and a bowler hat! In reality wearing a tie at all is already a minority option, for most jobs.

Totally agree with you.
I work for a top accountancy firm and Simon’s outfit here would be at the end of the formal scale.

I also read a comment on Andreas’ post where the commenter said most of Andreas’ outfit would not fit in a office!
When I look around in my office, Andreas outfits would just be fine, he’d be the best dressed there, even more so than senior people!

Yes, I agree JJ. I have a mid-dark grey flannel SB from Graham Browne and work as a lawyer in the City. Simply wearing a well-cut suit with a well-tied tie and clean shoes makes one pretty much always the smartest in the room these days, even if the suit is flannel.

I have to say, I love flannel generally – it’s comfortable, warm, hard-wearing and interesting. Planning on a blue flannel for my next suit!

I think it’s a nice suit, Simon. Though as the others have said, it’s quite difficult to see the details because the photos are dark. I’ve put the brightness at maximum on my laptop. Another question, as you’ve compared the suit to Liverano, it the chest pocket in Liverano jackets straight or boat-shaped? Cheers.

Depends on the British weather!
I’d guess a few more weeks, particularly without a coat, but it’s hard to tell. One of these days I’ll put together a temperature guide for myself on different cloths. It’s something I’ve been meaning to do for ages for my cycling commuting clothing

W&S is similar to A&S in most regards, so more construction than Vestrucci, some similarities in style but also differences like shape of the front edge. A&S probably more drapey and comfortable than W&S though

The concave lapel line throws off the balance of the jacket. Because the lapel is so diminutive by the time it reaches the top button, the jacket shows nearly as little of the shirt and tie underneath as it would were the top button fastened (see top picture; compare with, say, the recent Sartorial Ciardi commission); consequently, the chest appears less prominent than ideal and the jacket looks less in fashion. This was a problem for me with my first few 3r2 commissions, though for some unidentifiable reason (any ideas Simon?) I do still always prefer it to a standard 2b, especially when not using worsted.

I wonder if a more textured square would be preferable here. On the one hand, it’d maintain consistency with tie and jacket. On the other, it may seem too fastidious.

Interesting points Ben, thanks.
I know what you mean about the concave lapel, although I do like the natural feel of the roll – which is I think why I generally prefer 3-roll-2 on anything casual, even if less shirt and tie is shown.

On the square, I think the rich silk was a nice counterpoint in terms of colour and texture to the rest, while still being formal. More often than not, this is a nicer combination – the tie and handkerchief having different textures rather than similar ones.

Overall a very good job with basic additional problems that you haven’t mentioned. The left sleeve has a vertical fold which suggests that the sleeve is pitched too far back and given your relaxed posture this has been a significant oversight.
I am puzzled by the disparity between the cost of the jacket and trousers. Normally the break down would be two thirds of the cost allocated to the jacket and one third to the trousers.
In general Tailoring circles this cloth, especially in a plain colour would have been regarded as an easy cloth. Given the standard of finish I don’t think that the jacket represents good value for money.
I often feel that Italian Tailors treat cloth like this with contempt and I was trained by Italian Tailors and the results of that mind set show in the end product.

Hi Peter,
Thanks for your views, although I don’t think you can draw clear conclusions such as these from the images (particularly these ones!).
Certainly, the tailors didn’t treat it with contempt, quite the opposite, but they did say (and that has been evident in the wearing) that it is pretty soft for a flannel and moves a bit.

This strikes me as the best fitting and most flattering suit I’ve seen you post (at the top with the navy Chitt&Morg). And I’ve been following for years now. It’s just judging from pictures and I know it has a lot to do with my personal taste on how I like suits to fit – but I’m just curious if you agree. Pitty the pic doesn’t show your sloped side which I’m curious to know if it turned out clean, did it?

Beautiful fabric, can you give a little more info (weight/book/number)? I’m going to commission a charcoal flannel DB from W+S for next winter and deciding on fabric now. Initially thought vbc or Fox, but this H&S has a beautiful tone. Thanks.

Simon, this suit is simply outstanding! I really like flannel and can see my wardrobe having grey,brown, and blue suits in this wonderful and attractive fabric. I don’t know how I missed this article, but this suit fits you so well, one of your best. I like that the shoulder is only slightly extended which gives the suit a bit more masculine look. Thanks again for this excellent article and exposing your readers to Sartoria Vestrucci. I also saw the video and really like how the suits on both you and Tommaso move with the body. He is such an elegant man!

I’m presently preparing for my first bespoke suit experience with local tailor and so I’m trying to get together my vision of my coveted suit.

As the number of buttons on the suit drives other choices (as you have taught me) I’m particular about it.

My tailor has a bias towards more structured, English-cut suits, and I’d like to go with some amount of drape and suppressed waist (as well as natural-waisted trousers with pleats) that will accentuate and flatter my (not muscular) V shape torso. This should be fine then.

But I really like a three-roll-two suit with a beautiful roll, that could be considered rather an Italian than English thing.

And that is my question:
Is rather structured, stiff and masculine English approach readily compatible with a three-roll-two suit? Is it a great idea to slightly break formality of such a suit with nonchalant three buttons with a pronounced lapel roll? Does the structure of English suit itself allow it at all?
I’m asking because your Sartoria Vestrucci suit still is an Italian suit and my tailor certainly has no “Italian character with English modesty” philosophy. So I’m a bit afraid of a mismatch if such a combination is not handled with expertise and experience as they have at Sartoria Vestrucci.

I’ve always liked one-button suits, but even on your heavy Chittleborough & Morgan twill suit, the roll of laples above the button is not as pronounced and elegant as on a three-roll-two suit, and I have never seen anything better on a one-button suit. Moreover, as a beginner in the bespoke field I’m a bit afraid of a look of a long skirt if there is no lower button to downplay it. And I really do not like two buttons.

Please, what do you think about this combination? Any remarks and lessons really welcomed and appreciated.

Hi. I would not have a three-roll-two. Partly because you are right, it would be slightly out of keeping with the style, and partly because English tailors just rarely do it well. I made that mistake with my Anderson & Sheppard suits years ago. I should have gone with two buttons.
I don’t think you will regret two buttons – it will be something you barely notice